Singer-songwriter's November album features Suzanne Vega, John Roderick and Sara Quin. Check out "Good Morning Tucson" from the upcoming album, below.

By Blurt Staff

Jonathan Coulton speaks to the outcast in all of us. His full length album, Artificial Heart, is due out on November 8^th - it's his first album of all new material since his infamous 2006 "Thing A Week" series, during which he created 52 musical pieces in 52 weeks. And for those of you who can't wait, it'll be unveiled digitally early, in September, via the usual retailers.

In addition to They Might Be Giants' John Flansburgh producing his record, Coulton is kicking off a national US tour with TMBG this Fall.  Artificial Heart touts special guests including Suzanne Vega, John Roderick of The Long Winters and Sara Quin of Tegan and Sara.  

Coulton is thrilled to release the new "Good Morning Tucson" MP3.  A highly singable pop song, "Good Morning Tucson" is about an aging morning news anchor who one day finally loses it. Give it a listen exclusively today on BLURT!

MP3: "Good Morning Tucson"

Tour Dates:

09/02: Atlanta, GA @ Variety Playhouse #

09/08: New Haven, CT @ Toad's Place #

09/09: Great Barrington, MA @ Mahaiwe Theatre #

09/10: Concord, NH @ Capitol Center for the Arts #

09/11: Norwich, VT @ Upper Valley Events Center #

09/13: Ithaca, NY @ State Theater #

09/14: Pittsburgh, PA @ Byham Theater #

09/15: Rochester, NY @ Harro East Ballroom #

09/16: Cleveland, OH @ Beachland Ballroom #

09/17: Detroit, MI @ Majestic Theatre #

09/18: Grand Rapids, MI @ Intersection #

09/20: Cincinnati, OH @ Southgate House #

09/22: Indianapolis, IN @ The Vogue #

09/23: Chicago, IL @ Riviera Theatre #

09/24: St. Louis, MO @ The Pageant #

09/25: Tulsa, OK @ Cain's Ballroom #

09/27: Nashville, TN @ Cannery Ballroom #

09/28: Asheville, NC @ The Orange Peel #

09/29: Richmond, VA @ The National #

09/30: Philadelphia, PA @ Theatre of Living Arts #

11/04: Salt Lake City, UT @ The Depot #

11/05: Boise, ID @ Knitting Factory #

11/06: Spokane, WA @ Knitting Factory #

11/08: Vancouver, BC @ Venue #

11/09: Seattle, WA @ Showbox SoDo #

11/10: Portland, OR @ Crystal Ballroom #

11/11: Arcata, CA @ Van Duzer Theatre #

11/12: San Francisco, CA @ Fillmore #

11/13: San Francisco, CA @ Fillmore #

11/16: Anaheim, CA @ House of Blues #

11/17: Solana Beach, CA @ Belly Up Tavern #

# = w/ They Might Be Giants

[Photo Credit: Shervin Lainez]

Promoting recent - and amazing - solo album.

By Blurt Staff

Erstwhile Fugazi member Joe Lally recently issued a new album, Why Should I Get Used To It (Tolotta-Dischord), his third solo release, and already one of the more heavy-rotation platters here at BLURT this year. As our reviewer put it, in a nine-star review:

"There is no better stylist on the bass guitar in American punk music than Joe Lally of Fugazi. His sharp, nimble and direct rhythm lines were the absolute core of the DC legends' distinctive sound. Eight years into an indefinite hiatus from Fugazi, Lally continues to establish himself as a formidable artist in his own right. While there's a strong chance Fugazi may never get back in the studio or on the road before Armagideon time, if Joe Lally continues to veer into the direction he is going on this exceptional LP, it will certainly serve as a fine respite from their sorely felt absence on the scene."

Lally's November tour starts in Austin, Texas at the Fun Fun Fun Fest on Saturday, November 5th.  His band will feature Lally on bass and vocals, Alison Chesley (Helen Money) on amplified cello and Ricardo Lagomasino (The Sea Around Us, Many Arms) on drums. (For his tour dates in Japan, Brazil, and Argentina in September and October, his band features Elisa Abela on guitar and Fabio Chinca on drums.)

U.S. Tour Itinerary:

 Saturday, 11/5 at Fun Fun Fun Fest in Austin, TX
 Sunday, 11/6 at Bryan Street Tavern in Dallas, TX
 Monday, 11/7 at ACM@UCO Performance in Oklahoma, OK
 Tuesday, 11/8 at Record Bar (Helen Money opens) in Kansas City, MO
Wednesday, 11/9 at Off Broadway (Helen Money opens) in St. Louis, MO
Thursday, 11/10 at Schubas Tavern (Helen Money opens) in Chicago, IL
Friday, 11/11 at Vernors Room (Helen Money opens) in Pontiac, MI
Saturday, 11/12 at Drake Hotel     in Toronto, ON
Sunday, 11/13 at Casa del Popolo (Helen Money opens) in Montreal, QC
Monday, 11/14 TBA
Tuesday, 11/15 at Great Scott in Allston, MA
Wednesday, 11/16 at Bar Night Club in New Haven, CT
Thursday, 11/17 at Knitting Factory (Helen Money opens) in Brooklyn, NY
Friday, 11/18 at Kung Fu Knecktie (Helen Money opens) in Philadelphia, PA
Saturday, 11/19 at Golden West Café (Helen Money opens) in Baltimore, MD
Sunday, 11/20 at Black Cat Backstage (Helen Money opens) in Washington, DC

Get your mind outta the gutter, kids... you think this pop superstar would stoop to cheap double entendres just to draw attention to his new record?

By Blurt Staff

As previously announced in this space, Don Fleming - you may have heard of him; Velvet Monkeys, Gumball, B.A.L.L.; producer to Sonic Youth, Teenage Fanclub, Hole, Screaming Trees, Posies, Andrew W.K. and Alice Cooper; etc. - has a new 4-song EP's worth of instant sonic mayhem not to be missed by the discriminating hipster.  Don Fleming 4 includes collaborations with Kim Gordon (Sonic Youth, Free Kitten), Julie Cafritz (Pussy Galore, Free Kitten) and R. Stevie Moore.

Among the platter's choice tracks: "Clockwork Cockwork," featuring Cafritz on guitar. As you shall see in the tender video rendering, below, it is not a tune to be trifled with. Enjoy!

Song comes from new album, due in September.

By Blurt Staff

As previously announced, St. Vincent's new 4AD album Strange Mercy will arrive on Sept. 13. Be watching for an exclusive interview with Annie Clark right here at BLURT in the near future. Meanwhile, check out the video for album track "Cruel," directed by the Terri Timely group (aka Corey Creasey and Ian Kibbey), who have worked with Clark on a number of other videos in the past.

Watch video clip, below.

By Blurt Staff

Blondie will be the guest on this weekend's Guitar Center Sessions, which airs at 10pm ET Saturday evenings on DirecTV (yeah, yeah, we know it's a shame that most people don't get DirecTV, but find somebody who does and have them Tivo it for ya). They'll be grilled by none other than Nic Harcourt. According to DTV, the band will "perform and discuss $20 NYC apartments, subliminal messages in "Tide Is High" and how rock & roll is the new jazz."

Here's a teaser clip you can get jazzed with - Blondie doing "Mother" from their new album Panic of Girls.

August 5, at Hard Rock Live in Hollywood, Fla., the legend essayed both Gershwin and the Beach Boys.

By Lee Zimmerman

What becomes a legend most? In the case of Brian Wilson's performance Friday night at hard Rock Live, it's somewhat hard to say.

Cynics might deride the fact that at age 69, Brian still portends to be a battered soul. Sitting at his keyboard last Friday night and playing to a rapt crowd, he seemed stiff and somewhat robotic, his arms either dangling by his side or swinging with exaggerated gestures, his hands making only occasional contact with the keys. Clearly, the years have taken their toll. Overweight, looking frumpy, and often staring expressionless (some might say even he appeared catatonic), his comments between songs lacked spontaneity and appeared perfunctory ("This is a Chuck Berry thing we do," he said blankly while introducing "Dance Dance Dance," and "This is the first thing I ever wrote," he dully mentioned prior to "Surfer Girl,") Likewise, he seems only a bit player relative to his superb band, which basically does all the heavy lifting in terms of fleshing out those gorgeous arrangements, supplying the lush harmonies and singing the falsettos that Wilson can no longer muster. It's their show, and by ceding the spotlight, Brian often seems a figurehead, there to receive due homage. There were some songs where he rarely sang at all, and only half that found playing... and when he did doodle at the keys, the sound was nearly inaudible. Even the musician intros were left to another -- guitarist Jeffrey Foskett, the show's de facto emcee.

Still, none of that seemed to matter to diehard devotees. And for good reason. Wilson's shell-shocked man/child persona is as much a part of his famous persona as the incredible, heartfelt "teenage anthems to God" he created and composed over the last half century. Despite his battles with drugs, depression and personal despair - the cruel manipulations of his overbearing father Murray, the loss of his two brothers Dennis and Carl, his retreat from the world and subsequent subversion of personal psychiatrist and Svengali, Dr. Eugene Landy - Wilson's dedication to his muse and determination to create those exceptional sounds are more than cause for admiration. One of the greatest musical creators and composers of the past half century, he's long since earned due reverence, despite the tolls taken on his psyche.

Besides, it's the music that matters most, and Friday night at the Hard Rock, it was the songs - those glorious age of innocence incantations - that shone oh-so brightly. Culling well over two-dozen Beach Boys classics and four from his latest album, Reimagines Gershwin (vigorously plugged on at least a couple of occasions), Wilson and his band generously covered several decades of his classic catalogue. While there were some who would rue the exclusion of, say, "Caroline No" or "Surf's Up" or "In My Room," the inclusion of such classics as "Help Me Rhonda," "California Girls," "Wouldn't It Be Nice," "Darlin'" and, above all, "God Only Knows," perhaps the most beautiful song ever added to the pop lexicon, more than made up for any deficiencies. Likewise, live performances of his two most adventurous min suites, "Good Vibrations" and "Heroes and Villains" continue to dazzle well over 40 years on.

Of course, due credit has to go to the band itself, which long since has negated any need for an alternate reunion of the Beach Boys, given the fact that Dennis and Carl have passed on, Al Jardine has ventured out on his own (check out last year's superb solo album, A Postcard From California), and the current Beach Boys incarnation fronted by Mike Love and Bruce Johnston is little more than a cover outfit. Wilson's current ten piece ensemble - Wilson, Foskett, keyboardist Darian Sahanaja, percussionist Nelson Bragg, drummer (and Palm Beach resident) Mike D'Amico, guitarist Nick Walusko, multi-instrumentalist Probyn Gergory, bassist Brett Simon, keyboardist Scott Bennett and Paul Mertens on horns -are more a part of Wilson's collaborative process than the Beach Boys in their prime, and their ability to fill in all the nuances, nooks and crannies of those elaborate arrangements Wilson originally labored over so feverishly in the studio and then embellish them accordingly is a marvel to behold. The remarkable take on Gershwin's "I Got Plenty of Nothin'," with the musicians switching from banjos to whistles to other nutty accoutrements, was like peering on one of those infamous Smile sessions. Add the overwhelming sway of nostalgia (songs like "Wouldn't It Be Nice" and "Help Me Rhonda" still ripple through teenage memories), and the songs can't help but stamp an indelible impression.

As mentioned, Wilson himself was fairly stoic the entire time, and looked rather fragile as he lumbered off during the break and later, shuffled back for the encore, giving a grand bow before he unceremoniously shuffled off the stage. An old school showman, he may be living off his legend, but he still seems clearly in touch with his music, especially when the band's in full stride. Songs end with grand flourishes and the set list is arranged as an oldies show, one clearly designed to give his audience all they might desire.

Then too, just for a moment, when he strapped on his bass during the encore, he actually looked like the Beach Boy Brian of old. Despite his foibles, quirks and eccentricities, the audience still gets the man they know and love. Ultimately, it's the opportunity to witness genius - in all his rumpled glory, through past, present and for all time -- that made that two hour encounter so memorable and amazing.

Set List

California Girls
Dance Dance Dance
Catch A Wave
Little Deuce Coup
Surfer Girl
Please Let Me Wonder
Row Row Row Your Boat
Don't Worry Baby
Salt Lake City
Drive-In
Do You Wanna Dance
Darlin'
Do It Again
I Get Around
-- Intermission --
I Got Plenty of Nothin' (instrumental)
They Can't Take That Away From Me
I Got Rhythm
Nothing But Love
Add Some Music To Your Day
The Little Girl I Once Knew
Sail On Sailor
Sloop John B
Wouldn't It Be Nice
God Only Knows
Heroes and Villains
Good Vibrations
-- Encore -=
Johnny B Goode
Help Me Rhonda
Barbara Ann
Surfin' USA
Fun Fun Fun

Due Nov. 8 on Raven Marching Band Records, it features guests Jim James, Bela Fleck, Colin Meloy and more.

Tumble Bee, the first children's record from the prolific Laura Veirs (whose last release was the acclaimed July Flame), arrives Nov. 8. The recording covers a wide range of folk songs, from early 20^th century work songs to the ballads of Jimmie Rodgers, Woody Guthrie, Peggy Seeger and Harry Belafonte.

Veirs and renowned record producer Tucker Martine, her long-time collaborator on seven of her eight records, have created a piece of art that is sure to appeal to children as well as adult fans of Veirs' previous work.  The album features guest appearances by Colin Meloy (Decemberists), Jim James (My Morning Jacket), Bela Fleck and Brian Blade (drummer for Bob Dylan) among many others. As Smithsonian Folkways recording artist Elizabeth Mitchell says, "This is a luminous, smart, essential and truly extraordinary album."

Inspired by the birth of her son and by countless fans who've told her over the years how much their kids love her records, Veirs became curious about the history of American children's music.  She and Martine listened to hundreds of songs from the past several centuries, including Harry Smith's famous Anthology of American Folk Music. They selected what Veirs calls, "a sampling that reflects our richness as a people." Tumble Bee was recorded at home in the spring of 2011.

"Many of these songs have been forgotten throughout the years," says Martine.  "We wanted to bring these beloved songs to a new generation with an instrumentation that both honors their traditions and creates something unique."

A joyous testament to this collective history, Tumble Bee embodies both the uplifting and fearful moments of childhood.  Much more than simply a record for children, Tumble Bee defies category to stand on its own as a vibrant, sonically beautiful recording; listeners of all ages will revel in Veirs at her prime.  "I love this record," says acclaimed songwriter Sufjan Stevens. "Laura's folk songs for children prove that the best children's music never gets old."

August 18 at the Wonder Ballroom, Jon, Juday and Russell tore the place apart. Maybe literally, even.

By Tim Hinely

It had been 20 years (nearly to the day) that I first saw the JSBX climb on a stage (Khyber Pass in Philly) and nearly that long since the last time I had seen them play (maybe mid to later 90's) so of course I had my reservations about this gig. I had heard they put on a tremendous set at the Matador 21 festival last year so that gave me hope and I have to say, I was curious. All reservations were set aside when Spencer and Co. (same guys, Judah Bauer on guitar and Russell Simins on drums) hit the stage and began to tear the place apart (ok, not literally). Spencer is still the crazed, howling frontman (the opposite of his shy demeanor off stage) and is still equal parts James Brown, Mick Jagger and Elvis Presley. Huffing, puffing, sweating and waving his hand like some crazed dirt preacher while Simins (a very big man behind a very small drum kit) pounds away as if his life depended on it and Bauer, the laid-back one, grinds out dirty riffage while looking cool as a cucumber. 

Spencer still works the crowd like a magician, the crowd, in this case, was a mix of  old geezers like me who had caught the band back in their heyday and young ‘uns mesmerized by the band's charm (and kick-ass tunes).  They played for nearly 90 minutes and barely stopped to take a breath. We heard it all: "Afro" ,"Shirt Jac", "Hey Mom",  "Attack", "Fuck Shit Up" and plenty more. He worked his trusty theremin too and at that point, had the crowd eating out of his greasy palms. I'm proud to say, they've still got it.

The fourth annual Outside Lands Music & Arts festival hit San Francisco's Golden Gate park August 12th-14th.  The three day festival featured over 50 artists spread across four stages and Blurt contributing concert photographer Scott Dudelson was on hand to bring us the photo highlights. Go here to read the Blurt report on the event.

(above) Arcade Fire

Arctic Monkeys

Big Audio Dynamite

Beirut

Black Keys

Charles Bradley

Deadmau5

John Fogerty

Mavis Staples & Win Butler (of Arcade Fire)

The Meters

MGMT

Muse

Nikki Bluhm

OKGO

Phish

The Shins

Films this fall in the r/ock & reel series to include treatments of Pearl Jam, Bob Dylan, My Morning Jacket A Tribe Called Quest (read Blurt story here), Tom Petty, Tom Dowd, Lee "Scratch" Perry (Blurt story here),  Rolling Stones and more. View our special Dylan-inspired promo trailer, below.

What do A Tribe Called Quest, Tom Petty & the Heartbreakers and Pearl Jam have in common?

All are subjects of films scheduled for r/ock & reel, a new music-focused documentary film series presented by a/perture cinema and Blurt Magazine, from September 16 through November 19, 2011.

"Showcasing the best in independent and arthouse film is our passion at a/perture," says Lawren Desai, a/perture's owner. "Documentary films have always been a special interest of ours, and we believe there is a unique audience for music-focused documentaries specifically. We had amazing success with our 2010 sold-out screening of The Secret to A Happy Ending, a film on the Drive-By Truckers and just couldn't resist the opportunity to create an entire series, appropriately named r/ock & reel. We've got some exciting films and filmmakers to bring to Winston-Salem this fall."

r/ock and reel from a/perture cinema on Vimeo.

Whether your concert t-shirts are gathering dust or you're heavily dialed into today's music scene, r/ock & reel has something for you. Featuring films on The Rolling Stones to The Swell Season, Lee Scratch Perry to My Morning Jacket, r/ock & reel endeavors to present films that offer insight into music's more iconic and eccentric stars.

"Any festival whose opening weekend features films on A Tribe Called Quest and Tom Petty is good in my book," says Andy Tennille, co-founder and associate editor at Blurt. "Coincidentally, r/ock & reel opens the night before Rock the Block, providing a nice complement to the city's largest music event of the year. We've still got a few tricks up our sleeve, so stay tuned."

Tickets for all r/ock & reel films are available now at www.aperturecinema.com, or by calling 336-722-8148. In addition to individual tickets, r/ock & reel is offering VIP all-access passes for sale for $100, which includes priority access to all r/ock and reel screenings, discounts with our sponsors and partners and more. For more information on our VIP all-access passes, visit www.aperturecinema.com.

 "r/ock and reel would be nowhere without our incredible partners," Desai says. "We'd like to thank the good people at Single Brothers, Kyle Webster Design, The Garage, Earshot, Camino Bakery and Excalibur Direct Mail & Marketing for their amazing support in bringing this series to life."

***

About r/ock & reel

When:

Friday, September 16 - Saturday, November 19, 2011

Where:

a/perture cinema

311 West Fourth St.

Winston-Salem, NC

Tickets:

Tickets can be purchased online at www.aperturecinema.com, or by calling 336-722-8148.

Schedule:

Beats, Rhymes, and Life: The Travels of A Tribe Called Quest

Friday, September 16-Thursday, September 22

Tom Petty and the Heartbreakers: Runnin' Down A Dream

Sunday, September 18

Pearl Jam Twenty

Tuesday, September 20 (part of the national premiere)

Tom Dowd & The Language of Music    

Friday, September 23 & Saturday, September 24

The Upsetter: The Life and Music of Lee Scratch Perry

Friday, September 30 & Saturday, October 1

Don't Look Back

(Bob Dylan)

Friday, October 7 & Saturday, October 8

The Wonder Year

(9^th Wonder)

Friday, October 14 & Saturday, October 15

Everyday Sunshine: The Story of Fishbone

Friday, October 21 & Saturday, October 22

Standing in the Shadows of Motown

Friday, October 28 & Saturday, October 29

Shine A Light

(The Rolling Stones)

Friday, November 11 & Saturday, November 12

The Swell Season

Friday, November 18 & Saturday, November 19

About a/perture

a/perture cinema is an independent, locally-owned movie theater in the heart of downtown Winston-Salem, North Carolina. Screening a mix of independent, foreign, documentary, local, and festival films in two 80-seat theaters, a/perture has evening screenings seven days a week with additional matinees on Friday, Saturday and Sunday. In addition to the traditional freshly popped popcorn, candy and coca-cola beverages, a/perture also offers a wide selection of beer and wine, healthy snacks and special treats made by local bakeries.  Plenty of parking is available in the surrounding downtown area, both on street and in the Cherry/Marshall parking deck adjacent to the cinema.  a/perture brings back the intimate movie-going experience of yesteryear and serves as a modern, unique alternative to giant chain cineplexes. For more information, please visit http://www.aperturecinema.com/.